Left Behind
ai-less whumptober
day 19- left behind/why wasn't I enough
fandom- dp x dc
TW- abandonment
Summary- The Fenton parents leave their kids at the Gotham Public Library
ao3
ailesswhumptober masterlist
part 1 of TFR
Barbara was working the closing shift at the library. She was putting some books away when she overheard a conversation.
“Do you know when mom and dad are going to pick us up?” said what sounded like a teenage boy.
“No, I– Oh, wait they just messaged me.” said what Barbara thought was a slightly older teen girl.
Silence.
“Jazz?
“They left.”
“What?”
“Someone posted about a possible sighting in Metropolis. They said they’ll be there for a few days.”
There was more silence. Barbara stayed quiet.
“So, they left us behind.”
“Yeah.”
“Again.”
“...Yeah.”
Barbara closed her eyes, thinking of Tim and how he had been left home alone so much. And these kids… their parents had abandoned them too.
“Well at least we’re not helpless.”
“I hate them.”
“Jazz–”
“No, Danny. I hate them. They’re supposed to be our parents. They’re supposed to take care of us.”
“I know. They always chose something else over us. Why aren’t we enough, Jazz?”
“I don’t know.” she sniffled.
“Jazz, hey, look at me. We’ll be okay.”
“I'm sorry, Danny. I'm just so tired.”
“I am too.”
Barbara was about to speak up when they continued.
“At least i have a credit card this time so it won’t be like the time they forgot is in Bridgton.”
“Yeah, that sucked. We were lucky we were able to sneak onto that semi.”
“Well, tonight we can get a hotel room and then get bus tickets tomorrow.
“I could just... you know. Do my thing.”
“I guess, but we should at least get a hotel for tonight. I don’t want to try traveling while you’re exhausted.”
“That’s fair. But–”
Barbara finally decided she should make her presence known. She cleared her throat as she made her way around the bookshelf.
The two teens startle. They looked like siblings. The girl was a redhead with teal eyes, and the boy had black hair and blue eyes.
“Hello, I’m Barbara. I work here at the library. I’m sorry, but I couldn’t help overhearing your conversation.” she paused as the siblings glanced at each other, the boy reaching over to grab his sister’s arm.
“What do you mean?” asked the girl, Jazz, if Barbara was correct.
“You need a place to stay tonight? It’ll be hard to find a good hotel at this hour. I’ve got an extra bedroom at my apartment, and you’re welcome to stay the night. You won’t owe me anything.”
“Why?” asked the boy, Danny.”
Barbara considered for a moment. “I have a friend who went through a similar situation as you guys, so I’m familiar with what it's like to have your parents be too busy. And you wouldn’t be the first kids I've let stay the night. I can help you find bus tickets in the morning. I’m familiar with most of the routes and can let you know which ones are the safest and quickest.”
The girl glanced at her brother, who stared at Barbara. There was a moment where his eyes seemed to glow and Barabar felt as if he were really looking at her. She suppressed a shudder at the intense feeling.
Then he turned to his sister and nodded.
“That’s very kind of you. Thank you. I’m Jazz and this is Danny.”
“It’s nice to meet you both. I have to finish locking up so I’ll meet you by the door.”
They nodded and started gathering their stuff.
Barbara went to finish the rest of the closing shift duties.
She also had a call to make.
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The more time I sink into andromeda, the more I suspect the biggest reason it ultimately failed commercially was because of the massive tonal shift I've already mentioned, and how there was probably a pretty big chunk of original trilogy players who simply no longer fit as a demographic, while the game failed to reach the people who might’ve enjoyed it.
The original trilogy, much as I love it, feels a little bit like a wishfulfillment power fantasy for a very obvious demographic. Almost all women are overtly sexy in design and the f/f relationship in the first game seems to be written along the guidelines of 'what would a straight man find hot'; you play as someone cool and confident and powerful, the most specialest human ever, and maybe you aren’t always respected but YOU and the NARRATIVE always know you're right and you get to be rude to and sometimes punch/murder people who disagree with you so it’s fine. The game then salvages all this by means of genuinely well-written characters and arcs, really cool sci-fi tech and lore, a fantastic story, and meaningful and hard-hitting choices and consequences (which also allow and often encourage you to steer away from that exact macho ideal).
Enter andromeda. Instead of being a super powerful supersoldier from the start, you're the kid of one. You barely know what you're doing. Everyone doubts you, including yourself. You don’t get the assuredness of knowing you are Right and Cool that you have as Shepard. You don’t demand that same respect. And I'm sure there are a lot of people who hated that.
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Does leopard still have 3 lives in her final battle? Or was that changed?
Yep. I think she drowned her once, then Leopardstar lunges up refreshed, and she gets the upper paw on Mistyfoot with 2 lives to go.
(MAYBE tw gore, but I really did try to be tasteful about a head being smashed on a rock.)
On her back, splashing and thrashing furiously against Leopardstar's claws dunking her head under, Mistyfoot glimpses a wave breaking just over the tip of a stone-blue rock. Her only chance.
With a surge of power, her claws sink into her leader's golden shoulder and they tumble and roll to the right. Before the tyrant even realizes what's happening, she's yanked up, and then whipped backwards with a wet CRUNCH
And then again
And again
And again, until Mistyfoot can't even make out what's left of her leader anymore. All she can see is that it's a red, brown, and yellow blur, because her eyes burning with salty tears and her whole body is trembling.
She drops the corpse onto the stone and it slides into the water, lifelessly. After a moment it spasms aimlessly one last time, like an insect does after its head is bitten off, unlike the deliberate, agonized throes of Tigerstar suffering through his doomed lives. And then it's still.
There's only the tranquil sound of bubbling water, and Mistyfoot's frenzied panting. Her pounding heart makes it hard to hear either.
The blood is carried off by the shallow water in scarlet swirls, but the lake runs pale red as if it's washing it away. Some were aware of this prophecy, but Mistyfoot was not.
It isn't closure to her, or a fulfillment of divine decree. It's just blood that should be on her paws, slicked away by the complicit river. She wished it could feel like it's over, but she's smart enough to know the truth. Has been through enough terrible events like this to understand what comes next.
Her body will move foward. Her mind will need to consider her deputy. Her paw will come down on code-defying cats like Blackclaw and Greenflower. But her heart will stay here, next to the remains of Leopardstar, the same way another piece of it remains at Stonefur's side across space and time.
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On Horror, Queerness, Mirrors, and Dracula
Your wish is my command (you may or may not regret this).
Here’s the thing - I love horror, and I love patterns, and I think the best horror is always in some sense symmetrical. It might not be obvious, but what’s the point of staring into an abyss if you can’t see your own face reflected back? The symmetry itself comes in any number of different twists, whether it is familial, communal, erotic, or individual, and most of these apply to Bram Stoker’s Dracula.
The centre of our novel rests on the Harkers. So, starting with Jonathan - his experience in Transylvania is a twisted version of his life back home. Dracula is reserved but eloquent, seemingly caring and occasionally affectionate, he reads train schedules and they spend hours upon hours in conversation; which is a dark mirror to Jonathan’s train schedule-loving, passionate but serious Mina. It may even be said that the Count is re-enacting a caricature of traditional heteronormative domesticity - he maintains the household, waits on his guest himself, and blows him kisses from the stairs. His possessiveness of Jonathan is the only way a vampire like Dracula is capable of understanding the bond Jonathan shares with Mina. The Count states that he, too, feels love; but he is written by a closeted gay man in the late 19th century, so his imitation of married life is both a lie and a tragedy. He is a shorthand for forbidden, wrong, and corrupting desires.
At the same time, Mina herself also has a same-sex connection in the beginning of the story, and her relationship with Lucy mirrors the relationship between Jonathan and Dracula. They cling to each other, in a sense; despite being excited about the prospect of their impending marriages, there is some trepidation associated with this new stage in life. A common part of a dowry used to be a shroud, simply due to the frequency at which Victorian wives died in childbirth soon after the wedding; and even provided a survival, the transition to married life was still a loss of innocence. As such, Lucy’s affection for Mina is the last expression of her girlhood, and she herself is the personification of Mina’s. Lucy is, therefore, the direct antithesis of the Count; her death and subsequent rising change Mina the same way that Dracula does Jonathan, establishing a firm duality between the Harkers and their respective vampires.
The other characters are reflections of each other, as well; the suitors defend while the brides terrify, Van Helsing wants to preserve life while Renfield wishes to consume it - and even further, the old Hungarian lady cares enough about a stranger to give Jonathan a cross for protection, while Lucy’s own mother lets Dracula into the house herself, selfishly ignorant of her daughter’s needs and the doctor’s orders. Another parallel is drawn again between Jonathan and Renfield, who represents directly what he could have been, had he not escaped from Dracula’s grasp; which makes Renfield’s vehement, last-ditch attempt to protect Mina perhaps all the more poignant. In him, she sees the resilience of Jonathan’s humanity; while he gets to see exactly what she could become after her turning - in Dracula himself. These dualities are integral to the story’s thematic structure, and therefore inextricable from each character’s development.
There is really too much to say about each individual dynamic to fit into one rant, but for the current purposes, I can forgo the details. They all converge as it is on Jonathan and Mina, and thus, the central theme of this story is devotion. If Jonathan had truly broken, like Renfield, Mina would have stayed by his side; and if she had fully turned, like Dracula, he would have adored whatever shred of her still remained. In madness and in death, in happiness and sorrow, in sickness and in health - until the echoes start to sound like wedding vows.
@stripedshirtgay
@bluberimufim
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